Messages

• m66 Not hearing that lower RH layer as is. Sounds like Bb and Eb like the top layer but down an octave.

Guess I misheard some of the drumbeats as notes there. Fixed.
 

• m72 RH beat 4 is actually just a sextuplet, starting on the same note: Eb F G Bb Eb Bb
• m73, 77, 81, 85, if you listen closely RH 1.0 should be 16th length, there's a Bn on beat 1.25
• m74, 78, 82 RH 4.0 lower layer is a D major chord, so F# and Dn are what's there instead
• m80 RH upper layer 3.0 is An An Gn and F# D for beat 4
• m92 RH the 8va should end in m91, these notes are correct octave without the 8va

Agreeing on closer inspection, fixed as well.

Thank you for your support and patience. If there are any other changes to make, I'll try to get them done a bit quicker than this time.

By slurs, do you mean ties? This can be fixed by going to tools -> advanced tools -> special tools -> ties. Please see the attached screenshot of what that looks like to change it!

Thank you very much! Fixed the ties (guess I looked up the wrong word for it in the dictionary) according to your suggestion.

one thing I was thinking you could add though is in m49 for the LH you could make that a tremolo with a cresc. underneath it (either text or symbol). 

I do have some additional dynamic thoughts, subito piano seems awfully quiet for m33, as far as depicting the volume change from the previous measure. Maybe piano or even mezzo piano would be better?

Then, at m50 fortissimo might be a little better as a forte as I don't think it's that loud of a part.

Agreeing with those, changed them. Really like the tremolo idea for m49.

I'm a little confused, isn't the 8va here? so is the implication that "ad lib" is to play down an octave from what is written? In any effect, I don't think it's clear from this text what it is supposed to do.

I tried explaining the ad lib in a footnote in the score, but it didn't really work that great. Decided to scrap the ad lib altogether as it is closer to the original when played in 8va. (In short: 8va is more accurate, playing it without the 8va sounds better in my opinion.)

One thing I noticed doing my check, for the last measure (92), beat 1 of the RH is a separate pitch and not tied, and should not be under the 8va.

Agreeing with that one too.

Files will be updated within the next few minutes have been updated.

Yes, I did. Sorry for the delayed reaction, somehow I didn't get a notification for your post here.

• I think you might've forgotten the ottava feedback I left you earlier. m87-92 the ottava could also go a little higher so it's not so close to the top of m88.
• I'm also not seeing that bit about the pedal marks for page 3, though your responses lead me to believe you intended to add con pedale?

Indeed, I forgot those. Should be fixed now.

• for pg 3, when rests in one layer are hidden, the notes in the layer above for example should have their stems pointed as if there was no additional layer below. What this looks like in practice is for m35 and m39, beat 1 and 2 RH should have their note stems flipped in the opposite direction down.

Did that, but now the slurs all point downwards there, which looks kinda awkward. Is there a way to fix those easily? Otherwise I'll try and "patch" that with hand-placed ones.

• General question for m40-48 LH, are these notes more arranged than notes you are hearing? Some of these pitches I hear but others I do not, so just thought I'd ask if that was intentional. I tend to skew towards accuracy of the original track, open to your thoughts if you disagree/have different ideas!

I definitely didn't focus on accuracy here, I found the harp arpeggios pretty awkward to transcribe for one hand alone. I rewrote the left hand to more accurately reflect the bass line there, I think that should be closer to the original. I generally prefer playability over accuracy when in doubt.

• RH m53, m66 for the 2nd layer (lower layer), the 8th rests in these measures could go a little higher, so that they're within the staff and closer in height to the other notes in the layer.
• m42 RH top layer for beat 4.0 and 4.5, hearing An's under both notes.

Agreed, changed those.

• m44 RH I'm not hearing the second layer here. For the current top layer beat 1.5 current En actually hearing a Dn. For beat's 4.0-4.5 hearing Gn's instead of current bottom notes.

I actually do hear the En there, although it is quite difficult to make out for sure. Beats 4.0 and 4.5 changed and second lyer removed according to your suggestion, agrreing with those.

• m59 key changes typically have a double bar line preceding the accidentals, so the line between m58 and m59 should be a double bar like seen at between m72-73

Oops, fixed it.

• What are you envisioning at m87 with the ad lib text?

In the original the part is played as 8va, but I think it on the piano it sounds better as written. I put in the "ad lib." as a compromise between accuracy and arrangement.

Will upload the fixed files after I fixed m35 and m39.

[Visual/Document Feedback]

• my recommendation for m33 until m49, would be to include the text "con pedale", meaning with pedal. This would indicate to the performer to use pedal where necessary - I'm thinking those places where the LH has a low C but in a separate layer, there is an ascending pattern that you wouldn't be able to hold the low note for.

You could then include the text "senza pedale" at m50, indicating the with pedal section is over.

Added those, thanks for the suggestion!

Visual/Document Feedback
• In general I would reexamine the positioning of your dynamics - ideally, they can visually align between both staffs nicely (don't feel like they always have to, sometimes it's preferable to have dynamics a little to the left of where they normally would be, as opposed to widening the distance between staffs), centered under the corresponding pitch they are meant to indicate volume for. I think m1 and m50 are primary things to correct, but can give others a look over too (see m1 corrected image for example)

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• Speaking again to visual stuff, make sure elements aren't needlessly overlapping with each other. Sometimes it's hard to avoid it with a tie and dealing with multiples layers, but for m2, the cresc. could move down a little so it's not going through the sextuplet's six.
• Sometimes with visual overlap, you will need to play with the staff distance - go to staff tool in Finale, then click the box that will appear at the bottom of the bottom staff, and drag it down a little to increase the distance. This will then allow you to fix the aforementioned overlap at m40 for example

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• One last visual thing I'd like to mention in this post - Ottava's (8va's) typically are aligned like this:

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. You could also move the 8va covering m89-92 down a tad so it's not so close to m88 in particular

I redid all the dynamics etc as suggested and changed the staff distance in some parts.

Page 1+2 Notes
• m8 lower RH layer I would remove the notes on beat 1.75 they're a bit messy to try and restrike and then move fingers around for beat 2. I wool also remove m9 beat 1.75 the Bn under the D# for playability.

Done. In m9 I also removed the A on beat 1.5, looked more natural to me that way.

• m12 this will capture the spirit of that higher part a little better (note I widened the system distance and moved cresc. down a little also)

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I redid that part based on your idea but changed it a little bit.

• m12 LH I don't hear a tremolo occurring, sounds like two quarter note's (same E's as m11) and then half rest for beats 3-4

I agree except for the half rest as I could hear an E being played in beat 3. I put two quarters plus a half note there, maybe three quarter notes plus a quarter rest would be more accurate?

• m14 there are 3 additional audible notes, you could do this or leave as you have it since they aren't the melody

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I'm going to leave it as it is. I played it like you suggested and personally find the additional notes a little distracting.

• m16 listening closer to the LH I think beats 2.5-end of measure are not staccatoed, just 2.0 is. Same goes for m28 LH
• In general, I would recommend removing the lower of the two octaves for m21-28. It's difficult to do beats 1 and 2 but it's the move to beat 3 that's particularly difficult. I also don't hear them in most instances anyway.
• m27 RH hearing beats 3 and 4 as follows, not quite as high as you have. Also hearing beat 1 and 2 of next measure a little different (note I removed octaves in the screenshot)

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• also in m28 RH, as far as note prominence goes, I would suggest having this figure instead: 

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• m32 LH beat 3.0 sounds staccato

Agreeing with those, changed them.

Files have been updated. Thank you for your suggestions again!

All right, thanks for the heads-up! I replaced all four files and hopefully didn't screw any of them up.

Hello everyone,

thank you for the feedback! I revised the score based on your suggestions, plus a few other things I noticed in the process.

Hey Naturematthe, wanted to just leave a quick comment regarding formatting. I'm not sure what template you used to make this arrangement but please see the site's formatting guidelines here: https://www.ninsheetmusic.org/forum/index.php?topic=481.0. There is a template file formatted the way that your arrangement will need to be (I think you can just copy and paste your sheet into this template in Finale and should be mostly good to go aside from unbolting the tempo bpm number).

I also saw that someone already submitted a sheet from this game before, we try to keep credits consistent in the bottom copyright info so please update that as well! https://www.ninsheetmusic.org/download/pdf/4910 is the sheet

Done both.

• I'm hearing the sextuplet in m2 slightly differently, did you write it like this for playability reasons? (screenshot of what I hear)

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• m4, m8 LH beat 4 these E's are technically an octave lower, and could be written as such
• m7 RH top layer beat 1 is a 16th note, and there's a B on beat 1.25 (between the G# and E)
• m8 RH lower layer the G#-E on beat 4 is restruck as an 8th note on beat 4.5

Agreeing with those, changed them.

• m11 RH lower layer sounds like this:

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I heard that too when you pointed it out, but I also heard some E's on the offbeats. I added them too.

• m16 RH beat 2.75 the F# should be an E
• m16 LH beat 3 you could add a staccato to the E (it is slightly shorter than notes following it)
• m20 RH beat 2.75 don't hear the D# in this chord, and I think C# is more appropriate
• m23 RH beat 4 not hearing an F#, but could replace with a C# (heard) next to the upper D#.

Added those as well, except for m20. I took out the D# but didn't add a C# since I personally didn't hear that either. Changed the similar part a little bit later the same way.

Additionally I changed a few other things I noticed:
• Set down some left-hand notes by an octave to better reflect the bass line from the original (like you suggested for m4 and m8)
• m59 and following I shortened the dotted quarters in the melody to quarters plus eighth rests
• Added a few staccatos in addition to the ones you suggested

I'm still not entirely sure about m33 and following as I'm afraid to trade the playability for more accuracy there.

Should I replace the files from my submission with the revised ones or provide those separately?

[Chapter 1Pony Pieces]

Phew, has been quite a while... Well, let's get started.

Since the last post I made here a few things have changed about the music I write. Instead of organ or piano solo pieces I Started writing for groups of musicians and eventually made my way to orchestral music. The orchestral pieces I wrote during that time will be the main subject of this post.

There will be three chapters for the pieces: Pony Pieces, Pony-inspired pieces and Miscellaneous Pieces. I want to separate them here simply because listeners who are not familiar with the My Little Pony TV series might find it hard to get the Pony pieces since they don't know the characters or the history. The pony-inspired pieces do not need that kind of background knowledge even though they are based on things from the series. The Miscellaneous Pieces have nothing to do with MLP:FIM.

You should also know that some of the titles mentioned here may be different from the titles on YouTube. Some of the pieces originally have a German title, but to help understand them a little bit better I translated them into English for this post.

Chapter 1
Pony Pieces

1.1. Lyra Heartstrings
Back in 2014 when I wrote this piece, Lyra wasn't much more than a background pony who loved to jump around and sit on benches like a human being, and yet she was one of the fans' favourite ponies. In "Background Ponies #1 - Lyra Heartstrings" I tried to combine her cutie mark (a lyra, here played by the harp) and her playful and cheerie attitude with music. As one of my first orchestral pieces ever it can be described as the beginning of my "carreer" as a hobby composer.

Spoiler

[close]

1.2. Princess Celestia
The second piece I want to present here was written no more than two weeks after "Lyra Heartstrings".
Having been the sole ruler of the land the series played in for 1,000 years, Celestia sure is a royal figure. But all those years someone was missing by her side - her sister Luna who she had to banish to the moon to stop her from bringing eternal night over Equestria. She may be a royal pony, but deep inside the loss of her sister still hurts... Good thing the series starts with the main characters bringing Luna back for good, right?

Spoiler

[close]

1.3. Canterlot
At the cliffs of the highest mountain in Equestria, high above the heads of the ponies of the land, lie the city and the castle of Canterlot. If you want to find high society in Equestria, look no further.

Spoiler

[close]

1.4. The Story of Hearth's Warming Eve
Back in olden times, long before Celestia and Luna even started ruling Equestria, back when there was no Equestria to begin with, earth ponies, pegasi and unicorns did not live in harmony. Their hatred for each other however helped a group of ice spirits named "Windigos" become powerful and cover the whole land in snow and blizzards. Still, instead of helping each other get through this crisis, the three tribes kept fighting and making things worse and worse - until at the peak of disaster a small group of ponies from all tribes got along and managed to get their leaders to listen and help each other. The story has been passed on for generations in Equestria and is as important to the ponies as christmas is to many of us.

Spoiler

[close]

1.5. The Pony of Shadows
When Nightmare Moon was banished, not every last bit of her dark magic went with her... When night falls on the castle, that magic takes the form of... the PONY OF SHADOWS!
Yet another old pony legend I decided to work into a piece of music. Technically this is an overture for an opera - well, an opera that doesn't exist (yet)...

Spoiler

[close]

Chapter 2
Pony-inspired Pieces

2.1. A Winter Day in Equestria
Being the third orchestral piece I wrote based on MLP, "A Winter Day" was the first one to not actually be connected to a certain pony or place. I wrote it (what a surprise) on a couple of snowy winter days and tried to capture as many aspects of those as I could - the first snow before sunrise, the sparkling landscape, the children playing outside... Feel free to close your eyes and think about your own impressions!

Spoiler

[close]

2.2. Do you remember Whitetail Wood?
Whitetail Wood was mentioned only once in an episode from the first season of MLP, but it did leave an impression on me. What are your thoughts on the forest when you hear this piece?
"Whitetail Wood" did inspire me so much that I wrote down the whole piece in only 18 hours, only interrupted by a meal and a choir rehearsal.

Spoiler

[close]

Chapter 3
Miscellaneous Pieces

3.1. Equal except for the colour
Being one of my older pieces as well, this one also is one of the shortest. I planned it for a Pokémon fan-fiction of the same name, one that was centered around a conflict between "normal" and "shiny" Pokémon. It was supposed to act as a short interlude between the rather dark and sinister prologue and the happy first chapter.

Spoiler

[close]

3.2. Puss in Boots
Based on the popular fairytale with the same name, this piece is the latest addition to my portfolio. Not really much I can tell about it, so just get into it and listen for yourself.

Spoiler

[close]

Wow, it's been a while since I posted into that topic the last time.
Well, however, I've got something new to show you. (If you want, of course.)

This time it's (surprise!) a fugue, E flat major and for piano. Enjoy! (Or don't, whatever.)

Fugue in E flat major

[Chapter 1Pony Pieces]

Phew, has been quite a while... Well, let's get started.

Since the last post I made here a few things have changed about the music I write. Instead of organ or piano solo pieces I Started writing for groups of musicians and eventually made my way to orchestral music. The orchestral pieces I wrote during that time will be the main subject of this post.

There will be three chapters for the pieces: Pony Pieces, Pony-inspired pieces and Miscellaneous Pieces. I want to separate them here simply because listeners who are not familiar with the My Little Pony TV series might find it hard to get the Pony pieces since they don't know the characters or the history. The pony-inspired pieces do not need that kind of background knowledge even though they are based on things from the series. The Miscellaneous Pieces have nothing to do with MLP:FIM.

You should also know that some of the titles mentioned here may be different from the titles on YouTube. Some of the pieces originally have a German title, but to help understand them a little bit better I translated them into English for this post.

Chapter 1
Pony Pieces

1.1. Lyra Heartstrings
Back in 2014 when I wrote this piece, Lyra wasn't much more than a background pony who loved to jump around and sit on benches like a human being, and yet she was one of the fans' favourite ponies. In "Background Ponies #1 - Lyra Heartstrings" I tried to combine her cutie mark (a lyra, here played by the harp) and her playful and cheerie attitude with music. As one of my first orchestral pieces ever it can be described as the beginning of my "carreer" as a hobby composer.

Spoiler

[close]

1.2. Princess Celestia
The second piece I want to present here was written no more than two weeks after "Lyra Heartstrings".
Having been the sole ruler of the land the series played in for 1,000 years, Celestia sure is a royal figure. But all those years someone was missing by her side - her sister Luna who she had to banish to the moon to stop her from bringing eternal night over Equestria. She may be a royal pony, but deep inside the loss of her sister still hurts... Good thing the series starts with the main characters bringing Luna back for good, right?

Spoiler

[close]

1.3. Canterlot
At the cliffs of the highest mountain in Equestria, high above the heads of the ponies of the land, lie the city and the castle of Canterlot. If you want to find high society in Equestria, look no further.

Spoiler

[close]

1.4. The Story of Hearth's Warming Eve
Back in olden times, long before Celestia and Luna even started ruling Equestria, back when there was no Equestria to begin with, earth ponies, pegasi and unicorns did not live in harmony. Their hatred for each other however helped a group of ice spirits named "Windigos" become powerful and cover the whole land in snow and blizzards. Still, instead of helping each other get through this crisis, the three tribes kept fighting and making things worse and worse - until at the peak of disaster a small group of ponies from all tribes got along and managed to get their leaders to listen and help each other. The story has been passed on for generations in Equestria and is as important to the ponies as christmas is to many of us.

Spoiler

[close]

1.5. The Pony of Shadows
When Nightmare Moon was banished, not every last bit of her dark magic went with her... When night falls on the castle, that magic takes the form of... the PONY OF SHADOWS!
Yet another old pony legend I decided to work into a piece of music. Technically this is an overture for an opera - well, an opera that doesn't exist (yet)...

Spoiler

[close]

Chapter 2
Pony-inspired Pieces

2.1. A Winter Day in Equestria
Being the third orchestral piece I wrote based on MLP, "A Winter Day" was the first one to not actually be connected to a certain pony or place. I wrote it (what a surprise) on a couple of snowy winter days and tried to capture as many aspects of those as I could - the first snow before sunrise, the sparkling landscape, the children playing outside... Feel free to close your eyes and think about your own impressions!

Spoiler

[close]

2.2. Do you remember Whitetail Wood?
Whitetail Wood was mentioned only once in an episode from the first season of MLP, but it did leave an impression on me. What are your thoughts on the forest when you hear this piece?
"Whitetail Wood" did inspire me so much that I wrote down the whole piece in only 18 hours, only interrupted by a meal and a choir rehearsal.

Spoiler

[close]

Chapter 3
Miscellaneous Pieces

3.1. Equal except for the colour
Being one of my older pieces as well, this one also is one of the shortest. I planned it for a Pokémon fan-fiction of the same name, one that was centered around a conflict between "normal" and "shiny" Pokémon. It was supposed to act as a short interlude between the rather dark and sinister prologue and the happy first chapter.

Spoiler

[close]

3.2. Puss in Boots
Based on the popular fairytale with the same name, this piece is the latest addition to my portfolio. Not really much I can tell about it, so just get into it and listen for yourself.

Spoiler

[close]

---ORIGINAL POST---

Hello Ninsheetmusic community,

I really don't know what to say, so I just present my self-composed music here. Every piece of music will get an own short description, followed by YouTube video links. If you want to say anything, tell me.


Concertino in G minor (Organ)

Prelude, Fugue, Interlude, Fugue. This piece of music was created about two years ago during the summer holidays. I really don't know if it can be played - I haven't been able to play it yet. 

Concertino in G minor


Fugue in B minor (Piano)

A friend of mine asked for a piece of music for piano, including a fugue that should not be too hard to play. Until now only the fugue has been finished, but I hope I will get the prelude later. 

Fugue in B minor


Prelude and Fugue in C major (Organ)[/u]

This prelude and fugue were also written during the summer holidays, one year ago. Nothing much to tell about that, just listen.

Prelude and Fugue in C major


Fugue in A-flat major (Organ)[/u]

This fugue uses the theme from Bach's "Fuga XVII" from the "Well-Tempered Clavier Book I". Just a little experiment.

Fugue in A-flat major

[winterkid09]

Pokémon HeartGold/SoulSilver: Trainer Battle (Kanto)

MUS|MID|PDF

My first arrangemet I'm posting here. If there is something to say, please tell me.

_________________________

winterkid09: First off, make sure your sheets follow these formatting guidelines before submitting any music.

I also checked out our own R/B/Y sheet for the trainer battle, and it's still more accurate to the HG/SS version than this sheet. Although, yours is much more playable. I think we should lean towards accuracy for the time being, this won't be accepted as is. Check out this link and try to get the rest of the parts in there, to start out.

http://www.youtube.com/watch?v=pozVn_rUFFU

______

Quotation marks for the title (bold), game title italic, arranger's name italic, Piano instead of Klavier. Did I miss anything else?

Concerninh accuracy, I would like to be helped a little bit, if that is possible. Especially the combination of being accurate and playable at the same time always has been a problem, and I always tried to make it more playable instead of more accurate. I would be greatful for any kind of help by anyone.

__________
winterkid09: You also need to put "http://ninsheetm.us/" at the bottom of the sheet.

As far as the arrangement, post it in your personal submissions thread and the other members will help you out.

Hmm, a guy who knows his way around a forum

To be honest, I don't understand what exactly you want to tell me by that, but thank you anyway^^

Well, now I have signed up here, I just need to write down my arrangements using Finale. For the last years I always used Capella, and not I'm just starting with Finale 2011.

Well, what should I tell about me? I'm Naturematthe, and if you already know me, you can just ignore anything else.

For all the other ones, I'm 17 years old, studying music, maths and physics. The games I arrange music from are mainly Pokémon games, but I also compose own music - not only music that would fit into a Pokémon game.

The languages I am speaking are German (who would have thought that?) and English. I do not list Latin here, because I'm never speaking it

If you want to know more, ask me. If you want to contact me, feel free to do it.

Germany, North-Rhine Westphalia. The closest important city is Colone.